{"id":278411,"date":"2025-07-20T22:19:15","date_gmt":"2025-07-20T22:19:15","guid":{"rendered":"https:\/\/www.europesays.com\/uk\/278411\/"},"modified":"2025-07-20T22:19:15","modified_gmt":"2025-07-20T22:19:15","slug":"jonah-non-grata-hen-chickens-theatre-london","status":"publish","type":"post","link":"https:\/\/www.europesays.com\/uk\/278411\/","title":{"rendered":"Jonah Non Grata \u2013 Hen & Chickens Theatre, London"},"content":{"rendered":"

Writer and Director: Simon Kane<\/strong><\/p>\n

At its core, Jonah Non Grata is a retelling of the Book of Jonah\u2014but this is no ordinary biblical adaptation. Simon Kane expands the story\u2019s universe with songs, jokes, tricks, hymns, and a magical choose-your-own-adventure book to explore themes of power, choice, existentialism, responsibility, and love.<\/p>\n

The show unfolds in three stages: Fight, Flight, and Mariott. The first is chaotic and playful, as Kane transforms the stage into a surreal church service where the audience is invited to participate in a variety of symbolic activities and games. The second, where Jonah is swallowed by the whale, becomes mesmerising\u2014both visually and emotionally\u2014as Kane\u2019s physicality and the stage lighting transport us into the slow, swaying stillness of the whale\u2019s belly. The third is absurd and profound, as Jonah finds himself in a hotel room delivering God\u2019s message to Nineveh by calling everyone in the phone book. It\u2019s like a church service in a parallel universe\u2014but it\u2019s also like a video game, a movie, and a piece of performance art, all delivered by a divinely commanded clown.<\/p>\n

Kane\u2019s performance is extraordinary. He fills and commands the entire room, transforming his voice and body with astonishing range\u2014from bold, booming singing to the squeak of a prophet trapped in a whale, to clumsily discussing and debating the course of the adventure with the audience. During the second stage, he stands so upright and still, it feels as if he truly is submerged, swaying in an underwater world. With such masterful control of his physicality, he appears to shape-shift before our eyes.<\/p>\n

He also has an uncanny ability to shatter theatrical illusion and rebuild it at will. One moment, he completely dismantles the stage by talking to the lighting technician, calling for the house lights, and inviting a volunteer to read from the choose-your-own-adventure book. The next moment, we are enveloped in a high-production spectacle, with cinematic lighting and sound, as though we have been swept into a movie. The experience is unpredictable, but Kane never loses his grip on the audience, whether he is absorbing our attention or commanding it.<\/p>\n

The show\u2019s comedy thrives on the contrast between the divine and the human\u2014the grandeur of God and the clumsy awkwardness of the prophet. The soaring, dramatic soundtrack meets Kane\u2019s offbeat delivery and hesitant phrasing. His clapping is comically awkward, his magic trick delightfully underwhelming, and he often checks in with the room\u2014\u201cCan we all hear?\u201d He welcomes both laughter and awe.<\/p>\n

Kane has described the show as a modern-day mystery play, and it fits into this tradition through its ability to provoke spiritual contemplation. It is so thematically dense that you could discuss it for days on end, but it is also an absolutely joyous, in-the-moment experience.<\/p>\n

Reviewed on 19 July 2025 and goes to Edinburgh Fringe <\/strong><\/p>\n


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